Alien 5
by Rohan2
Summary: Set about one year after the events of Resurrection. Simply put, the Xenomorphs hit the town (New York City) in a bloody way. (SCREENPLAY FORMAT)
1. USM Auriga

OPEN: EXT-PACIFIC OCEAN SURFACE, DAY: The credits begin to roll as the camera dives into the water. A small submersible enters frame. it switches on its lights as it moves deeper and deeper. Markings on the sub show it is of the United Systems Military. The credits roll as the sub moves silently into the abyss, at times appearing as a mere speck of light in a sea of darkness.  
  
CUT TO. INT-SUB: The two pilots are squinting to see what may lie ahead. On the left is Captain SOIREZ. She is a tough looking Hispanic woman with a tattoo of a flame on her neck. On the right side of the cockpit is Lieutenant BRANSTON. A younger man who rose through the ranks with hard work and self sacrifice. He sports a brown crew cut and obviously artificial left eye. Soirez presses a button on the console in front of her.  
  
SOIREZ  
  
Three minutes.  
  
CUT TO. INT-CABIN: An entire platoon of soldiers wait patiently. The "three minutes" call comes in and they begin loading all sorts of weapons, locking and cocking them. Sitting semi-nervously at the back of the cabin are four scientists. Two of the scientists are prepping some sample containers. One of these is Doctor HANNAH WELLINGTON. A smart looking bundle of nerves. Sitting in front of her is Doctor RUDOLPH LUDWIG. Rudolph notices Hannah's nervousness.  
  
RUDOLPH  
  
Not one for the water?  
  
HANNAH  
  
Oh I love the water. I'm not one for drowning.  
  
RUDOLPH  
  
Mhmmmm.  
  
Hannah just glares at him. Two other scientists in the back have watched the Hannah/Rudolph exchange. These are Professors WALTER McNICHOL and ANDREW LELAND.  
  
LELAND  
  
Don't count on those two to make your job easy.  
  
McNICHOL  
  
I'm not.  
  
SOIREZ (V.O)  
  
One minute.  
  
A large military Sergeant stands and looks at his team. This is Sergeant First Class MICHAEL CAMERON.  
  
CAMERON  
  
Alright kids lighten up. This is a retrieval mission, nothing fancy. We're here to provide cover and protection for the folks at the back of the bus. There is no reason to suspect any hostile forces when we arrive but IF the occasion arises when you should have to shoot the shit out of something CALL FOR BACKUP! AM I CLEAR?!  
  
PLATOON  
  
YES SIR!  
  
CAMERON  
  
Good. Questions?  
  
The platoon sits silently for a moment. One soldier raises his hand.  
  
CAMERON  
  
What?  
  
SOLDIER  
  
What kind of "resistance" may we encounter?  
  
Cameron looks to the scientists in the back.  
  
CAMERON  
  
Science guys?  
  
Rudolph stands and the entire platoon looks at him.  
  
RUDOLPH  
  
The kind that nightmares are made of.  
  
CUT TO. INT-COCKPIT: Branson looks out the widows and sees a massive hulk of metal in their path.  
  
BRANSON  
  
Is that it?  
  
SOIREZ  
  
Switch on the highbeams.  
  
CUT TO. EXT-SUB: The subs lights intensify about 100X.  
  
CUT TO. INT-COCKPIT: Soirez manoeuvres the sub lower. She shines the lights on writing on the metal. The writing says "U.S.M AURIGA" Soirez gets on the P.A.  
  
SOIREZ  
  
Cameron, get up here.  
  
Cameron enters the cockpit. He stares ahead and swallows hard. Branson looks up at the vessel's hulk.  
  
BRANSON  
  
Lot of good people died here.  
  
RUDOLPH  
  
Lot of good weapons too.  
  
Without the rest knowing, Rudolph had entered the cockpit behind Cameron.  
  
SOIREZ  
  
Where should we dock?  
  
RUDOLPH  
  
The ship was mainly torn apart, but the science labs were reinforced. There's a good one.  
  
Rudolph points to a large metal box on the ocean floor.  
  
CUT TO. INT-BOX: The room is about fifty square feet around, littered with metal tables, cabinets, tazers etc... There are a pair of heavy metal doors at one end of the room. There is a silhouette against the window of the door before a massive shower of sparks plume out from a little flame passing through the door. After a short while of cutting, the doors fall away. Enter Soirez, Hannah, Rudolph, Andrew and McNichol. They are all wearing HAZMAT suits.  
  
HANNAH  
  
You sure that collar will hold?  
  
SOIREZ  
  
Don't worry bout a thing. It can take an easy 82000 PSI.  
  
The rest of the platoon enters. They take up defensive positions around the scientists. Cameron looks up at Soirez.  
  
CAMERON  
  
Looks clear.  
  
The scientists move further into the room. Hannah spots a large metal locker on the floor.  
  
HANNAH  
  
I found it.  
  
RUDOLPH  
  
Here.  
  
He hands her a large, heavily locked case. Hannah opens it. She then tries to pull the locker open to no avail. Soirez hands her a small torch. Hannah begins to cut the door open. She succeeds, and the door falls off. Andrew looks inside the locker.  
  
ANDREW  
  
Look at that.  
  
He, Hannah, McNichol and Rudolph stare into the locker. Rudolph reaches in and pulls out a small vial of yellow fluid.  
  
XFADE TO. EXT-OCEAN: The sub ascends into the light. 


	2. Takedown

XFADE TO. EXT-NEW YORK CITY, FUTURE TENSE, NIGHT: The city has become a massive conglomerate of East, Atlantic coast cities stretching as far North as Toronto and Montreal. This part of the Super City is, what was called, New York City. At this moment it is raining and storming. Futuristic helicopters circle the air above the city. One helicopter darts into frame. On it is written NYPD, NY78300.  
  
CUT TO. INT-CHOPPER, NIGHT: The pilots are speaking with someone sitting behind them.  
  
PILOT 1  
  
We've got him. Dispatch says he's held up in a crappy little hotel five miles South of here.  
  
A woman in her mid thirties leans forward. This is Officer NICOLE ERICSON. She is an obviously tough cookie. She has dark hair tied tight in a bun behind her head, tanned skin to suggest a mixed ethnic background and she is currently donning an NYPD jacket.  
  
NICOLE  
  
That's still our jurisdiction?  
  
PILOT 2  
  
Sure is.  
  
NICOLE  
  
Alright Douggie, let's get the fucker.  
  
She cocks a pistol.  
  
CUT TO. EXT-ROOFTOP, NIGHT: The chopper lands on the roof. Nicole steps out. She now has with her an automatic rifle. The pilot nearest to her looks out his window.  
  
PILOT 1  
  
Nick this is fucking nuts!! You can't go in there by yourself!!  
  
NICOLE  
  
Can and will! Just call for backup, tell them where I am!  
  
Nicole begins moving towards a door.  
  
PILOT 1  
  
NICOLE!!!  
  
NICOLE  
  
I want this one Douggie! I owe it to him!!!  
  
CUT TO. INT-CHOPPER, NIGHT: The pilots look at each other.  
  
PILOT 2  
  
Well?  
  
PILOT 1  
  
Call dispatch, tell em where she is.  
  
PILOT 2  
  
Alright.  
  
CUT TO. EXT-ROOFTOP, NIGHT: The chopper lifts off.  
  
CUT TO. INT-STAIRWELL, NIGHT: A door bursts open and Nicole steps in. She quickly shakes her head to scatter the dripping rain off. She looks around, all the lights are out. She takes a pair of goggles off the gun and puts them on.  
  
CUT TO. 1ST PERSON POV, NICOLE: What she sees is the hotel hallways lit up in night vision.  
  
CUT TO. INT-HALLWAYS, NIGHT: Nicole stands at the end of a hall. She peers further down the corridors when she hears a woman's screams.  
  
NICOLE  
  
Oh shit.  
  
Nicole begins to run in the probable direction of the scream. She tries to maintain her composure as she hurls down the hall. Nicole comes to a dead stop at a barely closed door. She begins to open the door with the barrel of her gun. She looks into the room which is lit with makeshift floodlights. Nicole takes off her goggles.  
  
CUT TO. EXT-STREETS, NIGHT: The police swarm the building. Out of one chopper steps a poorly dressed, but tough looking police captain MOORE. He stares down one of the nearby lieutenants.  
  
MOORE  
  
Charlston!  
  
A scruffy, plainclothsed lieutenant rushes over.  
  
CHARLSTON  
  
Sir?  
  
MOORE  
  
Keep me happy, tell me Ericson didn't go in.  
  
CHARLSTON  
  
I can't do it sir.  
  
MOORE  
  
Do what?  
  
CHARLSTON  
  
Keep you happy.  
  
MOORE  
  
FUCK!!!  
  
CUT TO. INT-HOTEL ROOM, NIGHT: Nicole steps forward with a fire in her eye. In front of her is a four poster bed. On the bed is a young, naked woman, bloodied and bruised but alive. Sitting behind her with the woman's head in his lap is a man about the same age as Nicole. This man is wearing a pair of nice shoes, dress pants, a white undershirt stained with blood and the woman's panties draped around his neck like a demented scarf. This is RANDALL WHITECASTLE, serial killer. He is holding a small blade to the woman's neck. He looks up at Nicole who has had him in her sights for a while now.  
  
NICOLE  
  
Realise, shitbag, you have nowhere to go. I am going to be honest with you. Kill her, you're fucked, try to kill me, you're fucked, run, you got it. The only way out of this in one piece is to surrender your weapon and come downstairs with me.  
  
Randall looks down at the woman who has been silently weeping all this time.  
  
RANDALL  
  
I think those were the exact words Ritchie said to me. Right before I got the idea to send his dick to you in a paper bag. You two were fucking, right?  
  
NICOLE  
  
Last chance.  
  
Randall looks up at her.  
  
RANDALL  
  
That's all that life is bitch, just a series of last chances.  
  
He cuts the woman's cheek.  
  
RANDALL  
  
Whadda,  
  
He cuts her other cheek.  
  
RANDALL  
  
Coulda,  
  
He aims to cut her throat. Nicole aims up and fires one shot into his shoulder. Randall slumps back and falls on to the floor. Nicole rushes over and starts beating the shit out of him. A SWAT team bursts into the room. They see Nicole beating on Randall and pull her off. She tries to escape and manages to kick Randall in the face before she gives up. The SWAT guys let her go. Nicole looks at Randall, who she has rendered a bloody pulp.  
  
NICOLE  
  
Shoulda.  
  
The SWAT guys escort her out. 


	3. Justice

XFADE TO. INT-COURTROOM, DAY: An eerie ray of sunshine seeps into the room as the judge, an older woman probably in her sixties, sits on her bench. She looks down in front of her. There, about three feet below her, is the jury box. Seated in the box are the jurors, twelve regular people of all kinds of backgrounds.  
  
JUDGE  
  
Has the jury reached a verdict?  
  
One juror stands. He turns towards the defence table.  
  
CUT TO. INT-COURTROOM, DEFENCE TABLE, DAY: Seated at the table is Randall Whitecastle. He is finely dressed in an expensive suit and nice tie. Seated beside him is a slimy looking shumuck who turns out to be his defence lawyer. Randall looks as though he is totally drained of any reminents of humanity. He looks as though, at a certain point in his life, he decided to live without feelings. Like his crimes were a way for him to rediscover the process of emoting. he stares out the window at a high noon sun burning though the fog hanging over the ocean. The standing juror looks at a cue card, and with poorly hidden pride reads...  
  
JUROR  
  
Guilty.  
  
Randall's lawyer looks surprised and pissed. The people watching the deliberations seem unsurprised and satisfied with the juror's decision. The judge looks at Randall, who has not turned to hear the juror speak.  
  
JUDGE  
  
Mr. Whitcastle.  
  
Randall either doesn't hear the judge or ignores her. The judge takes obvious offence to this snub.  
  
JUDGE  
  
Mr. Whitcastle!  
  
Randall looks to the judge. Though he seems to look through her, not at her.  
  
JUDGE  
  
Stand up.  
  
Randall stands, as do all who are in the courtroom.  
  
JUDGE  
  
Mr. Whitcastle, it comes with great ease to give this judgment. Though it may seem quote, "cruel and unusual" I see no other recourse than to give out said punishment to he who is also, cruel and unusual. Mr. Whitcastle, I hereby sentence you to die by way of incineration that is to be carried out with all the humanity a creature like you deserves. This courtroom is hereby adjourned.  
  
The Judge bangs her gavel. The people begin to disperse. In the crowd is Nicole who has not dressed up for the occasion. She looks like she is expecting a gunfight or something, though her hair is now trailing down her back in a ponytail. She begins her walk back to the doors. She looks back at Randall who is being handcuffed and taken away. He looks right into her eyes and gives a tiny smile and menacing wink. Nicole glares at him as though she were daring him to try to kill her, but he is taken away before she could gage his response.  
  
Nicole leaves. In her wake are several "suits" who were eyeballing the dynamic between Nicole and Randall. The "Lead suit" is a tall, lean, pale creature with hollow eyes and short, cropped hair. This is MASON. Mason follows Nicole out of the building.  
  
CUT TO. EXT-COURTHOUSE, DAY: The rainclouds have begun to mass around the midsections of the masses of metal that make up this part of midtown New York. The city has become a sweeping tower of corporate structures and mechanised living. All that remains of the "old school" structures are on the ground level of the city. This includes the courthouse which is a disfigured combination of old New York architecture and new technologies in renovations and additions. Nicole steps out on to the front steps and quickly spots Captain Moore who is looking dishevelled, but also looking like a proud father figure. Nicole walks down to him with the expression of "I told you so." slathered all over her face. Moore recognises this expression and opens the back door of the vehicle he is standing beside. Nicole steps in. Moore gets in after her. He closes the door. Mason and his brood are standing in Nicole's wake. Mason turns his head slightly to the stiff on his left.  
  
MASON  
  
Arrange a meeting with Whitcastle.  
  
STIFF  
  
Yes sir.  
  
CUT TO. INT-VEHICLE, DAY: Moore presses a few buttons on a control module in front of him.  
  
COMPUTER  
  
Destination, Captain Moore?  
  
MOORE  
  
NYPD Headquarters.  
  
COMPUTER  
  
Division sir?  
  
MOORE  
  
Twelve.  
  
COMPUTER  
  
Acknowledged. Activating drive.  
  
CUT TO. EXT-COURTHOUSE, DAY: The vehicle's wheels retract into the car's chassis and the car begins to move in a vertical direction.  
  
CUT TO. INT-VEHICLE, DAY: Moore and Nicole sit next to each other. Nicole appears proud of herself, Moore appears a little dumbfounded.  
  
NICOLE  
  
Just ask alright.  
  
MOORE  
  
How did you know the technically of your assault wouldn't hinder proceedings?  
  
NICOLE  
  
I didn't.  
  
MOORE  
  
What?  
  
NICOLE  
  
I just had faith in justice. I held my belief that there are certain people who don't allow red tape to interfere with putting evil down.  
  
MOORE  
  
Well, I hope your luck holds. Cops today, we need to keep being the good guys.  
  
NICOLE  
  
Evil though, it has a funny way of resurrecting itself now and again. In new monsters...  
  
MOORE  
  
Ones justice can't touch.  
  
NICOLE  
  
I didn't know you read anything good.  
  
MOORE  
  
One time in Collage, I was bored, I was dumped, nuff said.  
  
CUT TO. EXT-CITY, DAY: The vehicle hovers away into other traffic flying in the same direction as it begins to rain. 


	4. Second Chances

CUT TO. INT-PRISON CELL BLOCK, DAY: Mason and his company walk down a row of heavy, bulletproof glass cells on the sixth level up a wall of identical cells. They stop at one of the cells and look inside. Lying awake in the poorly furnished cell is Randall Whitcastle. He is now dressed in a navy blue prison issue jumpsuit. Mason leers in at Randall who barely acknowledges Mason's existence.  
  
MASON  
  
What if I told you, I could get you out of this place? What would you say to that?  
  
Randall keeps staring at the ceiling.  
  
RANDALL  
  
I would ask, what's the catch?  
  
MASON  
  
I would say, what have you to lose?  
  
Randall sits up.  
  
RANDALL  
  
Who are you and what are you doing wasting my time?  
  
MASON  
  
Believe me Mr. Whitcastle, this is no waste of time for you. Though, should you not hear me out, it will be a waste of mine.  
  
Randall stands and moves to the glass. He looks at Mason genuinely intrigued.  
  
RANDALL  
  
What have you got to say to me?  
  
MASON  
  
You leave this place, with me, and I will guarantee you will live not to regret the decision.  
  
RANDALL  
  
Who do you work for.  
  
MASON  
  
The United Systems Military.  
  
RANDALL  
  
And what would the mighty USM want with me?  
  
MASON  
  
We've got this, little thing, going. We need volunteers.  
  
RANDALL  
  
"Volunteers" You mean lab rats.  
  
MASON  
  
I mean what I say Mr. Whitcastle. You volunteer for this program what have you to gain? Your freedom, power, and dare I say, vengeance.  
  
RANDALL  
  
Vengeance?  
  
MASON  
  
I saw the look you gave Officer Ericson in court. You stay here, you'll never see her again.  
  
Randall backs away from the glass. He ponders the offer while pacing the cell. After a short while of pacing, he turns back to Mason.  
  
RANDALL  
  
You'll get me out of here?  
  
MASON  
  
Off death row?  
  
RANDALL  
  
Absolutely.  
  
Randall smiles.  
  
RANDALL  
  
Deal.  
  
CUT TO. EXT-PRISON, DAY: The prison facility is built on a rocky island in the middle of a stormy sea. The daylight is barely recognizable through the heavy rain. Resting on a helicopter pad on the prison roof is a large, armoured military craft. With helicopter blades, airplane wings and engines used for space travel, the fifty foot long vehicle is undoubtably imposing looking. Four figures hurry out into the storm which is now accompanied by an alarm.  
  
Mason leads the group. The taller of his two accociates guards Randall and the third "suit" takes up the rear. Mason waves his hand in the air to the pilot. The machine's engine revves up. Three prison guards with large, powerful looking weapons burst through the door. One fires a shot at Mason. It is a particle weapon that fires a shot of compressed plasma that emits from the rifle as a brief, blue blast. The shot barely misses Mason and continues into the dark, stormy sky. The "suit" in the rear spins around and discharges five shots into the attacking guard. These shots are also energy bursts. The guard is torn apart by the powerful blasts. The other two guards fall back. Mason and his company hustle on to the vehicle.  
  
CUT TO. INT-CHOPPER, DAY: The tall suit straps Randall into a red, bucket seat. Mason straps himself in, as do his accociates.  
  
MASON  
  
Get us the fuck outta here!  
  
CUT TO. EXT-HELIPAD, DAY The helicopter quickly ascends. The two guards cautiously step on to the pad, one quickly moves to his fallen comrade. The other pulls his lapel to his mouth.  
  
GUARD  
  
This is Nicholson, we have a big fucking problem.  
  
CUT TO. EXT-OCEAN, DAY: Now over a stormy Atlantic Ocean, the helicopter cruises over the water at about 300 km/h at an altitude of, no more than, 100 feet. The weather is shit. Pure shit, lightning, thunder, sleet rain.  
  
CUT TO. INT-HELICOPTER, DAY: Randall sits passively, staring out the window.  
  
RANDALL  
  
Some remote island, right? One where no one on the land can hear you scream? Is that it?  
  
Mason smiles wickedly and looks into Randall's eyes.  
  
MASON  
  
There is no island Mr. Whitcastle.  
  
CUT TO. EXT-OCEAN, DAY: The helicopter's blades stop spinning but maintains its speed. The craft descends fast, smashing through the waves.  
  
CUT TO. INT-HELICOPTER: The craft shudders and shimmies hard. Then, it begins to glide through the water. For the first time, Randall appears genuinely facinated. Randall moves to look out a window when Mason sneaks up behind him and injects a tranquilliser into the back of Randall's neck. Randall quickly slumps back into his seat.  
  
CUT TO. EXT-OCEAN: The vehicle descends into the dark at a remarkable speed. After a short while of cruising through the sea, a grouping of lights appear at the bottom of the ocean. As the chopper slows, it nears a series of man made modules connected via a network of pressurised catwalks. All the catwalks eventually end at a 100 foot tall tower in the centre of the modules. The chopper moves around to a smaller module on the perifery of the matrix of structures. The vehicle connects to a small docking hatch.  
  
CUT TO. INT-CHOPPER: Mason opens a port and steps on to a metal ramp. Surrounding him is the entire ocean sealed away from him by the same glass used in Randall's prison. About ten feet up the ramp is a metal blast door. Written on the door is the Weyland Yutani Corperate logo. The door begins to open. Standing on the opposit side of the door is Captain Soirez and Dr. Rudolph Ludwig. With them is Soirez's platoon with Seargent Cameron standing next to a large cryo pod. Rudolph steps towards Mason.  
  
RUDOLPH  
  
Did you get him?  
  
Mason turns to his accociates pulling Randall off the chopper.  
  
RUDOLPH  
  
You really are a bloodhound man.  
  
MASON  
  
Comes with the territory. Can I ask you of a quick favour, nothing big?  
  
RUDOLPH  
  
Maybe.  
  
MASON  
  
Can I watch it happen?  
  
RUDOLPH  
  
Hey man, you'll need a strong stomach.  
  
MASON  
  
Rudy, after what I've seen in my lifetime, what you're going to do to him will seem like fucking the loosest chick in the system.  
  
RUDOLPH  
  
Well, in that case, walk this way boys.  
  
Rudolph, Mason and company leave while Cameron, Soirez load Randall into the cryo tube. 


End file.
